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Of Doomful Portent
25 troubling flash fiction stories (Matthew M. Bartlett) and illustrations (Yves Tourigny) presented in an advent calendar format.
136 pages, Paperback
First published January 1, 2017
2 people are currently reading
65 people want to read
About the author
Matthew M. Bartlett
72 books325 followersMatthew M. Bartlett was born in Hartford, Connecticut in 1970. He writes dark and strange fiction at his home in Western Massachusetts, where he lives with his wife Katie and an unknown number of cats.
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Displaying 1 - 25 of 25 reviews
April 13, 2018
It states in the first page of the book “Of Doomful Portent” written by Matthew M. Bartlett that this book began life as an ‘Advent Calendar’ with tear-away pages , published by ‘Tallhat Press’. The page continues with quotes and high praise for Mr. Bartlett by the likes of Jon Padgett, Philip Fracassi, Max Booth III, Nathan Ballingrud and Jeffery Thomas. None of their praise is off the mark.
The book is filled by as many illustrations by the talented Yves Tourigny, a Canadian who hails from the Ottawa-Gatineau region, who busies himself with game design and other illustration. One of Mr. Touriigny’s stated aspirations is to outlive his Chihuahua. He gives us, the reader, one beautiful and fitting illustration per story.
One question that arises about this book is its provenance. On the title page it indicates that the book is from Gare Occult (2018), Is this Mr. Bartlett’s own press ? A quick google search of this publisher indicates that their only other publication is “Gateways to Abomination” by Mr. Bartlett.
The stories are quite short, most only spanning a page or a page plus a smidgen. The book should not be missed by anyone, fan or not of the author. We are presented with Grotesque Horrors and voyages into the Occult unique to Mr. Bartlett.
Highly recommended for everyone.
The book is filled by as many illustrations by the talented Yves Tourigny, a Canadian who hails from the Ottawa-Gatineau region, who busies himself with game design and other illustration. One of Mr. Touriigny’s stated aspirations is to outlive his Chihuahua. He gives us, the reader, one beautiful and fitting illustration per story.
One question that arises about this book is its provenance. On the title page it indicates that the book is from Gare Occult (2018), Is this Mr. Bartlett’s own press ? A quick google search of this publisher indicates that their only other publication is “Gateways to Abomination” by Mr. Bartlett.
The stories are quite short, most only spanning a page or a page plus a smidgen. The book should not be missed by anyone, fan or not of the author. We are presented with Grotesque Horrors and voyages into the Occult unique to Mr. Bartlett.
Highly recommended for everyone.
December 10, 2019
A very creatively designed package of your worst nightmares, courtesy of Mr. White Noise, Tumor Man, The Hog, Pope Sevenius and the unimaginably hideous spirits of Leeds. Matthew Bartlett, master of apocalyptic dread, and the talented artist Yves Tourigny present you with an advent calender to leave you breathless. Happy holidays!
December 18, 2018
I have enjoyed everything from Matthew Bartlett and this one is no exception. To present these stories in an advent calendar format with the complement of illustrations by Yves Tourigny is a novel idea and the execution is superb. There is some twisted, nasty and disturbing content here that easily added joy to my holiday season. Recommended highly.
March 16, 2018
Bartlett’s vignettes scream through the static of an old-time radio that’s metastasized to your skull. This labyrinthine stroll through hell barks out demon-trodden fables like a demented candy man selling razorblade-flavored sweets. You’ll grin while they cut you and swallow them whole, such is the dark magic here. Bartlett has the ability to make the darkest horror sing like an angelic choir engulfed in flame, and you’ll like what you hear.
April 3, 2018
Bartlett delivers another book of surreal horrors and flash fiction pieces that give us a glimpse into a twisted world of nightmares and degeneracy. I adore the imagery, the prose alighted my imagination and painted my brain with landscapes of terror. I've yet to be even slightly disappointed by Bartlett, the more of his work I read the more I come to appreciate his genius. If you want distinctive and unsettling horror Matthew Bartlett will not let you down.
December 23, 2018
These flash fiction pieces whirl up storms of grotesque happenings and tosses blood in different directions. Spreading over a course of landscapes explained by Bartlett’s Doomful Portent.
The advent calendar idea is brilliant and these stories are more than holiday cheer. The weird horrors of nighteyes, the meal at the fern diner, the willing host, the highway procession and out in the storm are just a few of the titles that displays the authors vivid imagery of horrors, that could turn one cold in fright.
The advent calendar idea is brilliant and these stories are more than holiday cheer. The weird horrors of nighteyes, the meal at the fern diner, the willing host, the highway procession and out in the storm are just a few of the titles that displays the authors vivid imagery of horrors, that could turn one cold in fright.
December 11, 2019
What a beautifully illustrated collection of nightmares! I really wanted to do the proper advent thing, and read one a day, but I found myself lacking in self control. Matthew Bartlett’s stories are just too damn addictive. I was compelled to blast through this collection in one quick sitting.
Characters like Mr. White Noise, The Tumor Man, and Hurt Me Henry are going to stay with me for a long, long time. And the lingering horror of what’s most likely within that big old box beneath the tree in the final story will probably never go away. Thanks, Mr. Bartlett.
Characters like Mr. White Noise, The Tumor Man, and Hurt Me Henry are going to stay with me for a long, long time. And the lingering horror of what’s most likely within that big old box beneath the tree in the final story will probably never go away. Thanks, Mr. Bartlett.
July 23, 2018
Matthew Bartlett is a master of these short snippet stories, stories which get immediately to the meat of the matter and make an impression without a lot of preambling background. The combination of these stories here is presented as an advent calendar, 25 stories with added excellent illustration. Everything about this book is excellent.
May 11, 2018
A series of vignettes detailing various horrors and grotesque characters happening in and around a town named Leeds. There are glimpses of an overarching narrative, with repeating mentions of characters/entities and motifs (and a couple of the stories getting a “direct sequel” later on) but that is almost an easter egg of sorts. The real meat of the book is how each vignette instills in you a sense of unease, revulsion or shock in their brief span. This is the first time I've read something by Mr. Bartlett, and I will certainly look into his previous works. This book is good.
The accompanying artwork for each story is... I guess I can't talk about this without going into the two minor complaints I have about this volume, so here we go. The artwork is pretty good. The style is very somber, and considering some of the things that are illustrated it is a testament to the artists' talent that at no point does anything look silly or goofy, he always delivers the creepy imagery associated to each vignette. Now, my complaint here is that I feel several times the image became a spoiler of what the story's reveal would be. I imagine it must be hard to illustrate a book of horrors in a not-literal way, but for instance in the stories ‘Teufelskappe’ and ‘The sun is a minor star’ the accompanying illustration discloses the secret of the man/entity in the story, but if you read the story these are meant to be revelations for the narrator, and seeing them before you even start reading somewhat robs each story the power of its revelation. Perhaps simply placing the stories BEFORE the illustrations would've been a much simpler solution than draw something else.
Anyway, my other complaint is also fairly minor. Whenever the text goes into italics, either for emphasis or quotation, the text itself becomes about 1 point bigger than the normal text and it doesn't look aesthetic at all, and when the change to italics happens it sticks out like a sore thumb. I don't know if it is the font they used that is badly proportioned, or if it was an oversight from the book designer, or maybe he was simply following what others do (off the top of my head, I think Penguin Classics also does larger-than-normal italics), but it's a bad choice. But of course I can't fault the author for this. This is extreme nitpicking and does not detract from my recommendation of the book at all.
The accompanying artwork for each story is... I guess I can't talk about this without going into the two minor complaints I have about this volume, so here we go. The artwork is pretty good. The style is very somber, and considering some of the things that are illustrated it is a testament to the artists' talent that at no point does anything look silly or goofy, he always delivers the creepy imagery associated to each vignette. Now, my complaint here is that I feel several times the image became a spoiler of what the story's reveal would be. I imagine it must be hard to illustrate a book of horrors in a not-literal way, but for instance in the stories ‘Teufelskappe’ and ‘The sun is a minor star’ the accompanying illustration discloses the secret of the man/entity in the story, but if you read the story these are meant to be revelations for the narrator, and seeing them before you even start reading somewhat robs each story the power of its revelation. Perhaps simply placing the stories BEFORE the illustrations would've been a much simpler solution than draw something else.
Anyway, my other complaint is also fairly minor. Whenever the text goes into italics, either for emphasis or quotation, the text itself becomes about 1 point bigger than the normal text and it doesn't look aesthetic at all, and when the change to italics happens it sticks out like a sore thumb. I don't know if it is the font they used that is badly proportioned, or if it was an oversight from the book designer, or maybe he was simply following what others do (off the top of my head, I think Penguin Classics also does larger-than-normal italics), but it's a bad choice. But of course I can't fault the author for this. This is extreme nitpicking and does not detract from my recommendation of the book at all.
June 10, 2018
Matthew M. Bartlett’s collaborative Advent Calendar with the perfectly paired illustrator, Yves Tourigny, for “Of Doomful Portent” further extends Bartlett’s well-earned reputation as a horror author’s horror author. But more on that in a moment. First let’s talk about the illustrations.
It’s impossible to fathom a better artist working today who could have successfully vivified each entry of Bartlett’s calendar of grotesqueries than Tourigny.
With each entry’s associated image, there is a deeply unnerving sight that can range from the abstract to the downright creepy “lusus naturae” that are known to stalk Bartlett’s tales. One gets the feeling that some of the art is more invocation than visual representation, all adding up to the creep factor.
It cannot be stated firmly enough: Matthew M. Bartlett should already be on any horror fan’s bookshelf, and if you’re new his work, you can’t go wrong by jumping in with just about anything he’s done. However, I’d suggest ordering yourself a copy of this beauty because its artistry by Yves Touringy is of the “need to see it to believe it” caliber.
It’s impossible to fathom a better artist working today who could have successfully vivified each entry of Bartlett’s calendar of grotesqueries than Tourigny.
With each entry’s associated image, there is a deeply unnerving sight that can range from the abstract to the downright creepy “lusus naturae” that are known to stalk Bartlett’s tales. One gets the feeling that some of the art is more invocation than visual representation, all adding up to the creep factor.
It cannot be stated firmly enough: Matthew M. Bartlett should already be on any horror fan’s bookshelf, and if you’re new his work, you can’t go wrong by jumping in with just about anything he’s done. However, I’d suggest ordering yourself a copy of this beauty because its artistry by Yves Touringy is of the “need to see it to believe it” caliber.
December 27, 2020
Has Mr Bartlett written a novel? I'm enjoying his short work but would really like to read something in a longer narrative form.
November 9, 2017
As a huge fan of Mr. Bartlett's work I was delighted to get my hands on one of these limited edition books. These bite size horror stories were excellent as well as the accompanying illustrations.
I think it is a testament to the author that 2-3 pages of text can feel thoroughly unsettling and stick around in my mind for days.
I think it is a testament to the author that 2-3 pages of text can feel thoroughly unsettling and stick around in my mind for days.
December 26, 2018
I don't know if it's because I read this as an advent calendar, one story a day for the first 25 days of December, as it was intended, or what, but this volume didn't quite cast the same hypnotic spell over me that Matt Bartlett's other stories have done. Which is not to say that Of Doomful Portent isn't still full of the poetic nightmares of the grotesque and banal that we have all come to expect from Bartlett by now, just that they're one notch below the brain-boiling brilliance of works like Creeping Waves or The Stay-Awake Men.
June 4, 2019
For whatever reason I sat on reading this despite being a devout fan of Mr. Bartlett's, having the original Tallhat Press edition, and getting the paperback for Christmas. I think maybe I wasn't ready to stomach it, and now having devoured it, I find myself feeling uneasy.
Bartlett at once meets and confounds expectations. His style is consummate: expertly evocative, yet disarmingly economical. This is weird and grotesque, and poetic. A work that is a sum of its, at times seemingly disconnected, parts. Building and building atmosphere and dread that is unsettling, strange, and apocalyptic. All that one would expect from Bartlett.
At one time I'm sure I expected his worldbuilding to coalesce into a, I dunno, Leeds Mythos of sorts. However, I'm beginning to suspect/hope that his approach to 'worldbuilding' is intentionally contrary to codification, that Leeds is maybe like Harrison's Viriconium, and in that way Bartlett is tapping into that aspect of the Weird tradition highlighting man's insignificance and his blessed inability to correlate the whole of its experience. The curtain has been pulled back to reveal a confounding contraption. Is it machine? Is it more than we can ever hope to conceive let alone fathom?
And it cannot be neglected to mention the wonderful illustrations by Yves Tourigny. Each vignette has not just an illustration but also an ingenious paper snowflake design. These snowflakes are not generic kindergarten craft cutouts. No, these designs are themselves illustrative of the vignette they accompany. Bravo!
Bartlett at once meets and confounds expectations. His style is consummate: expertly evocative, yet disarmingly economical. This is weird and grotesque, and poetic. A work that is a sum of its, at times seemingly disconnected, parts. Building and building atmosphere and dread that is unsettling, strange, and apocalyptic. All that one would expect from Bartlett.
At one time I'm sure I expected his worldbuilding to coalesce into a, I dunno, Leeds Mythos of sorts. However, I'm beginning to suspect/hope that his approach to 'worldbuilding' is intentionally contrary to codification, that Leeds is maybe like Harrison's Viriconium, and in that way Bartlett is tapping into that aspect of the Weird tradition highlighting man's insignificance and his blessed inability to correlate the whole of its experience. The curtain has been pulled back to reveal a confounding contraption. Is it machine? Is it more than we can ever hope to conceive let alone fathom?
And it cannot be neglected to mention the wonderful illustrations by Yves Tourigny. Each vignette has not just an illustration but also an ingenious paper snowflake design. These snowflakes are not generic kindergarten craft cutouts. No, these designs are themselves illustrative of the vignette they accompany. Bravo!
January 20, 2021
“Just a doll.”
Just an advent morning coda for any of us out here left alive. Just?
The dark symphony ends and someone writes this review by rote. Yet, still just enough residual simmering in the consciousness to express what a major conflux this book has been. The Yves Tourigny artwork is I think the best I have seen IN OR OUT of the 1990s Golden Age of darkest zines. And the Bartlett viles play the choicest cuts unimaginable.
The detailed review of this book posted elsewhere under my name is too long or impractical to post here.
Above is one of its observations at the time of the review.
Just an advent morning coda for any of us out here left alive. Just?
The dark symphony ends and someone writes this review by rote. Yet, still just enough residual simmering in the consciousness to express what a major conflux this book has been. The Yves Tourigny artwork is I think the best I have seen IN OR OUT of the 1990s Golden Age of darkest zines. And the Bartlett viles play the choicest cuts unimaginable.
The detailed review of this book posted elsewhere under my name is too long or impractical to post here.
Above is one of its observations at the time of the review.
June 12, 2021
I sadly don't have the original version of this, put out as a daily tear-out book so it could be read and deconstructed as a true advent calendar.
I have a lot of fond childhood memories of different sorts of homebrewed advent calendars my mother made, maybe that contributed to how much I enjoyed this. I read it was recommended, one story per day, in the way of an advent calendar. This may not appeal to everyone, and it does go back to some of Bartlett's earlier works in format: lots of short vignettes, almost fragments, scattered throughout the Leeds/WXXT mythos. But there's a lot to enjoy here, not the least of which is is Yves Tourigny's excellent artwork accompanying each entry.
I have a lot of fond childhood memories of different sorts of homebrewed advent calendars my mother made, maybe that contributed to how much I enjoyed this. I read it was recommended, one story per day, in the way of an advent calendar. This may not appeal to everyone, and it does go back to some of Bartlett's earlier works in format: lots of short vignettes, almost fragments, scattered throughout the Leeds/WXXT mythos. But there's a lot to enjoy here, not the least of which is is Yves Tourigny's excellent artwork accompanying each entry.
December 25, 2017
Merry Christmas!
This was a terrific way to celebrate the holidays: one ghoulish vignette for the 25 days leading to Christmas. If you are a fan of Matthew Bartlett's work, you will not be disappointed.
Make reading more of him a New Year's resolution that you keep!
This was a terrific way to celebrate the holidays: one ghoulish vignette for the 25 days leading to Christmas. If you are a fan of Matthew Bartlett's work, you will not be disappointed.
Make reading more of him a New Year's resolution that you keep!
December 29, 2022
Finished it a bit later than the end of advent, yet still it was an intoxicating read: "The world ends every time a sentient being dies. Hundreds of thousands of apocalypses a day, piling up, metastasising, a cancerous cloud that eats the world from the outside in and makes it clean".
December 25, 2019
A dark, beautiful gem of flash fiction with teeth. I read this as an Advent Calendar, and I loved it.
December 15, 2020
Um...
Definitely...different.
I’ve read a lot of horror and this is definitely a strange set of stories...
Definitely...different.
I’ve read a lot of horror and this is definitely a strange set of stories...
July 21, 2022
3.5. This guy is always good!
May 17, 2024
Another great set of very short fiction from Bartlett. The illustrations that accompany each piece really add a lot to this as well.
January 3, 2025
An Advent Calendar of Grotesque Horrors with Matthew W. Bartlett and Yves Tourigny. Hell yes! This is going to be my new yearly thang. Love these nasty little vignettes.
August 19, 2022
(Portions of this review originally appeared on my website, the Conqueror Weird.)
The storm of the century. A Satanic church. An ominous winter procession. A parasite and a pope. A pig head and a radio. Faces beneath stomachs and corporate demons and funeral attacks and radios and men in the woods and a hair monster and some very peculiar dolls.
All of these, and more, lurk in the pages of Matthew M. Bartlett’s latest endeavor, a collaboration with incredibly talented digital artist and game designer Yves Tourigny. Bartlett’s work is so utterly different from virtually anything I’ve ever encountered, and Of Doomful Portent: an Advent Calendar of Grotesque Horrors displays his continued ability to get under the skin in ways that are funny, horrifying, and (as the title suggests) extremely grotesque.
Of Doomful Portent is structured as a mosaic of sorts, much like his debut collection Gateways to Abomination and its “sequel” Creeping Waves. It consists of twenty five flash fiction pieces, the longest clocking in at around three pages, which eventually very loosely connect with each other. While Of Doomful Portent doesn’t quite reach the intertwined crescendo that the full-length collections/novel(la)s do, there are indeed several recurring elements (some more subtle than others): the ominous Mr. White Noise, the cannibalistic Pope Sevenius, and the Goetic demon Gaap amongst them.
Of course, WXXT and Leeds are present (as they always are), but they seem to step back a little for this one, letting the grotesque imagery play out while they loom silently in the background. Without WXXT’s special kind of madness as prevalent as it usually is, the whole thing feels colder, bleaker, more alien. This is, of course, apropos for the winter season.
Bartlett has always had keen eye for language and imagery, but here he dials it up to eleven. Some of these fragments read like nightmares I have actually had, which gave the whole thing an uncomfortably personal feel. The descriptions are truly revolting, with one particular passage (in “Encounter with Pope Sevenius”) being so utterly appalling that I had to take a quick breather before continuing. Others are more subtle in their creepiness, like the unsettling “It Was a Turkey”, the outright disturbing “Father Light”, and a bone-chilling little yarn called “The Ash-Eaters”.
It’s not a 24/7 assault, however; Bartlett allows humor into the horror to further screw with the reader’s sense of place. Shorts like “The End of the Family Line” gave rise to a chuckle, whilst the final “chapter” – a dark fragment called “Hurt Me Henry” – had me both laughing and shuddering in nearly the same breath.
Yves Tourigny’s illustrations elevate this book from a collection of exceptionally grim and bizarre horror shorts to a work of artistry. There is an image for every story, and each one is pitch-perfect. Whilst many traditional illustrations are usually only present to compliment the writing, Tourigny’s art adds flavor to and even improves the stories, giving a whole new dimension to Bartlett’s grisly winter menagerie. They do so much more than what is usually expected of an artist that I couldn’t help but be awed. Tourigny and Bartlett have previously worked together on the interior art of Bartlett’s “B-sides” collection Dead Air, but in this format they really shine together.
Every story features an illustration, but that’s not all: preceding each “chapter” is a demented snowflake with a thematic (or literal) tie to the story, beautifully designed to accentuate the titular Advent theme. The sheer love of the genre and of the craft is evident in everything Tourigny’s brought to the table so far, and Of Doomful Portent is no exception.
This genuinely may be my favorite Bartlett production to date. While this features the same flavor of unhinged imagery we’ve seen in Gateways to Abomination and Creeping Waves (both undeniable masterpieces already!), there is a particular potency to its darkness: a kind of manic nihilism that I haven’t sensed before. Coupled with Tourigny’s illustrations this makes for a genuinely haunting experience, one that will follow the reader long after they have laid down the book, settled down, and curled in bed on a long winter’s night.
The storm of the century. A Satanic church. An ominous winter procession. A parasite and a pope. A pig head and a radio. Faces beneath stomachs and corporate demons and funeral attacks and radios and men in the woods and a hair monster and some very peculiar dolls.
All of these, and more, lurk in the pages of Matthew M. Bartlett’s latest endeavor, a collaboration with incredibly talented digital artist and game designer Yves Tourigny. Bartlett’s work is so utterly different from virtually anything I’ve ever encountered, and Of Doomful Portent: an Advent Calendar of Grotesque Horrors displays his continued ability to get under the skin in ways that are funny, horrifying, and (as the title suggests) extremely grotesque.
Of Doomful Portent is structured as a mosaic of sorts, much like his debut collection Gateways to Abomination and its “sequel” Creeping Waves. It consists of twenty five flash fiction pieces, the longest clocking in at around three pages, which eventually very loosely connect with each other. While Of Doomful Portent doesn’t quite reach the intertwined crescendo that the full-length collections/novel(la)s do, there are indeed several recurring elements (some more subtle than others): the ominous Mr. White Noise, the cannibalistic Pope Sevenius, and the Goetic demon Gaap amongst them.
Of course, WXXT and Leeds are present (as they always are), but they seem to step back a little for this one, letting the grotesque imagery play out while they loom silently in the background. Without WXXT’s special kind of madness as prevalent as it usually is, the whole thing feels colder, bleaker, more alien. This is, of course, apropos for the winter season.
Bartlett has always had keen eye for language and imagery, but here he dials it up to eleven. Some of these fragments read like nightmares I have actually had, which gave the whole thing an uncomfortably personal feel. The descriptions are truly revolting, with one particular passage (in “Encounter with Pope Sevenius”) being so utterly appalling that I had to take a quick breather before continuing. Others are more subtle in their creepiness, like the unsettling “It Was a Turkey”, the outright disturbing “Father Light”, and a bone-chilling little yarn called “The Ash-Eaters”.
It’s not a 24/7 assault, however; Bartlett allows humor into the horror to further screw with the reader’s sense of place. Shorts like “The End of the Family Line” gave rise to a chuckle, whilst the final “chapter” – a dark fragment called “Hurt Me Henry” – had me both laughing and shuddering in nearly the same breath.
Yves Tourigny’s illustrations elevate this book from a collection of exceptionally grim and bizarre horror shorts to a work of artistry. There is an image for every story, and each one is pitch-perfect. Whilst many traditional illustrations are usually only present to compliment the writing, Tourigny’s art adds flavor to and even improves the stories, giving a whole new dimension to Bartlett’s grisly winter menagerie. They do so much more than what is usually expected of an artist that I couldn’t help but be awed. Tourigny and Bartlett have previously worked together on the interior art of Bartlett’s “B-sides” collection Dead Air, but in this format they really shine together.
Every story features an illustration, but that’s not all: preceding each “chapter” is a demented snowflake with a thematic (or literal) tie to the story, beautifully designed to accentuate the titular Advent theme. The sheer love of the genre and of the craft is evident in everything Tourigny’s brought to the table so far, and Of Doomful Portent is no exception.
This genuinely may be my favorite Bartlett production to date. While this features the same flavor of unhinged imagery we’ve seen in Gateways to Abomination and Creeping Waves (both undeniable masterpieces already!), there is a particular potency to its darkness: a kind of manic nihilism that I haven’t sensed before. Coupled with Tourigny’s illustrations this makes for a genuinely haunting experience, one that will follow the reader long after they have laid down the book, settled down, and curled in bed on a long winter’s night.
June 16, 2020
A quick spoiler: there’s no happy ending here!
Disclaimer: I sort of know (through Facebook) Mr. Bartlett and Mr. Tourigny
Having just finished this frightening book, I feel compelled to write a review. In so many ways, this is an amazing book. The words of Bartlett perfectly match the art work of Tourigny. Each of these finely crafted stories is so perfectly written, not a single word is out of place. Grotesque, graphic and very horrific, there’s no compromise given. Unlike other reviewers, I didn’t really find the stories humourus, but I did find them brutally compelling. A game changer in the world of weird fiction, for sure.
Disclaimer: I sort of know (through Facebook) Mr. Bartlett and Mr. Tourigny
Having just finished this frightening book, I feel compelled to write a review. In so many ways, this is an amazing book. The words of Bartlett perfectly match the art work of Tourigny. Each of these finely crafted stories is so perfectly written, not a single word is out of place. Grotesque, graphic and very horrific, there’s no compromise given. Unlike other reviewers, I didn’t really find the stories humourus, but I did find them brutally compelling. A game changer in the world of weird fiction, for sure.
Displaying 1 - 25 of 25 reviews